The Bluetone Shadows Jr. (combo starting at around 1,300 €) is a hand-built, all-valve guitar combo, whose sound is based on the classic Vox AC15. Instead of being a straight, slavish copy, though, the Shadows Jr. incorporates many of the up-to-date features that have made Bluetone such a well-regarded boutique maker.

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The Shadows Jr. has the clean and business-like looks that active players truly appreciate. You don’t want to be slowed down on stage by a control panel that’s hard to decipher. The Bluetone is clarity itself.

This is a single-channel all-valve combo running in Class AB mode giving you maximum output power at just over 10 watts.

The Shadows Jr. is designed around a trio of 12AX7 preamp tubes and a pair of EL84s powering the speaker. The combo’s power valves are cathode-biased, which means that swapping tubes won’t necessitate a trip to your friendly amp technician.

Bluetone is one of the very few amp makers who use torroidal power transformers. These doughnut-shaped devices (the black thing in the upper left corner) are lighter and more dependable than traditional transformer designs, and they offer more exact tolerances. As a valve amp is highly dependable on a stable and electronically quiet power supply for superior tone, Bluetone decided on using torroidal transformers early on, and they’ve never looked back.

The Warehouse Guitar Speakers Green Beret is an excellent choice for a strongly Brit-flavoured combo. Bluetone break in all of the speakers they use with low-frequency sine waves.

Despite being a compact single-channel combo amp (weighing only around 10 kg), the Bluetone Shadows Jr. offers an amazing amount of different clean and gain tones, thanks in no small part to the amp’s PPIMV master volume and the three-step OPC-switch.

PPIMV stands for ”post-power inverter master volume”, which is the preferred way of master volume design at Bluetone Amps, because it eats up the least amount of an amplifier’s tone, when in use. And if you turn the master volume knob all the way up, a PPIMV design makes the master volume ”disappear” electronically, making it completely transparent.

OPC, on the other hand, stands for ”output power control”. On the Shadows Jr. you have a choice of three settings, giving you 0.2, two or the full 10 watts of power, respectively. The magic of the OPC circuit is that it will turn volume levels down very noticeably without changing the tonal character of your settings, while also leaving almost all of the dynamics intact. Many lesser output power designs will turn a clean setting into an overdriven sound when you select a lower output level. The Shadows Jr. will sound almost the same on ten, two or 0.2 watts – the small tonal differences are the result of the speaker being driven differently. With the OPC at the lowest setting you will get approximately 95 percent of the full ”Shadows Jr. experience” at bedroom/apartment block volume levels. That’s fantastic!

The back panel gives you a choice of using the internal speaker or an external 4- or 8-ohm cabinet.

Bluetone have also included their tasty buffered, switchable effects loop with a dedicated volume control. When the loop is not in use, the circuit can also serve as a handy lead boost.

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Are you looking for a cool little tone machine with a strong Vox-y flavour, and no-compromise build quality? You should do yourself a favour and try the Bluetone Shadows Jr.

The Shadows Jr. ticks all the right boxes:

You get that classic clean tone with that sweet mid-range ”attitude”. A clean tone that is lively, but never glassy or brittle.

With the front-end volume near the other extreme you’ll get overdrive and distortion that is more gritty and dynamic – think later era Beatles, windmilling Townshend, or multilayered May – than creamy and compressed.

But don’t forget to check out the wide scope of break-up Blues and Rock ’n’ Roll sounds to be had between 11 and 2 o’clock on the volume (gain) control (depending on the guitar used). You’re in for hours of wailing soloing and chunky rhythms without ever needing an overdrive stompbox.

The build quality is miles ahead of any mass-produced guitar amplifier – this is a handcrafted boutique-grade valve amp. Modern additions like the PPIMV master volume, the OPC circuit, and the switchable effects loop, also raise this amp above any vintage-style copies.

For many the crucial question with low-wattage amps is volume. How loud is the Bluetone Shadows Jr?

Let’s just say that if you’ve only ever tried 10-watt tranny combos before you’re in for quite a surprise! These are ten (-plus) watts of British-style valve amp majesty, with every last ounce of loudness wrung out of the power amp and speaker.

With the OPC and the master on full, this little chap will easily get you into trouble with your neighbours in your block of flats on clean tones alone. If you don’t need 100 percent clean tones, the Shadows Jr. will easily get you through many rehearsals and gigs in small venues. And there’s always the option to stick a mic in front of the speaker.

So, don’t expect a Heavy Metal-type volume onslaught, but be prepared for some serious business.

I will stick my neck out really far by claiming that the Fried Eye 2+2 is the best-sounding and most-versatile compact two-channel boutique valve combo I’ve ever come across. This guitar combo is all tone and no hype!

If the demo video and this summary are enough to whet your appetite, I’d suggest you head over to Bluetone Amps’ website right away.

If you want to know more, read on…

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Helsinki-based Bluetone is a small boutique amp maker that handcrafts each and every one of their guitar and bass amplifiers, combos and cabinets. Bluetone offers a wide range of customisable options, both on the electronic as well as on the cosmetic front.

Our review combo (price of this version: 2,400 €; incl. footswitch and cover) is a two-channel all-valve affair comprising a Bluetone Clean channel partnered with a Fried Eye crunch channel, which is Bluetone’s take on the hot-rodded Marshall theme.

The 2+2-monicker in the combo’s name points to the special power amp architecture applied here. Instead of trying to emulate or approximate the different power amp sounds of, say, a Blackface-style clean channel and a Marshall-style crunch channel using heavy filtering and electronic trickery, Bluetone Amps go for maximum authenticity.

The 2+2 power amp uses two different pairs of output tubes – one pair for each channel. Selecting the clean channel switches on the power amp’s pair of 6L6GC-valves, while switching over to the Fried Eye channel will see a pair of EL34s spring into action.

(Photo courtesy of Bluetone Amps)

Bluetone Amps have recently been moving away from building their complete model range using only point-to-point building techniques. Certain models are now available as modular designs, which makes production less time-consuming, and thus more affordable. Still, like the point-to-point amplifiers, Bluetone hand-solders all its PCB-based modules at their workshop.

The Fried Eye 2+2 Reverb has been made in this modular fashion.

Like most Bluetone combos the Fried Eye is constructed with an open back.

Our review sample is one of the first Bluetone amps to feature a Celestion neodymium speaker.

There’s a Front End signal booster, amplifying the signal right at the beginning of the signal path.

The Fried Eye’s switchable effects loop is an active affair, complete with a dedicated level control. If you don’t run any effects in the loop, you can use the loop’s make-up gain as an additional, foot-switchable boost in the signal path.

A chunky three-button footswitch unit is supplied with the Bluetone combo.

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Bluetone’s Fried Eye 2+2 Reverb combo offers a wide range of options on its front panel. Thanks to the logical layout and the clear lettering, the front panel never seems complex or crowded, though.

The Bluetone Clean channel’s High/Low-switch offers two different pre-gain settings, which change the amount of available clean headroom.

Each channel features its own reverb level knobs – so you don’t have to compromise lush reverbs for clean tones with drier settings for crunch – as well as dedicated master volume controls.

Using all the different front panel and back panel features offers you a mind-boggling array of different tonal and drive options. With just a couple (or three) well-chosen guitars, Bluetone’s Fried Eye 2+2 Reverb will give you access to virtually any classic guitar tone you could dream up (with the exception of contemporary Metal).

Bluetone’s clean channel will take you from pristinely shimmering cleans well into Blues break-up territory.

The demo track’s rhythm guitar parts were played on a Gibson Melody Maker SG (stereo left) and a maple-necked Fender Stratocaster (stereo right). The lead part was recorded with a modern Tele-type guitar, using the instrument’s volume control to adjust the amount of overdrive:

I will stick my neck out really far by claiming that the Fried Eye 2+2 is the best-sounding and most-versatile compact two-channel boutique valve combo I’ve ever come across. This guitar combo is all tone and no hype!

Messrs. Kneckt and Vauhkonen don’t run around wearing strange clothes or wild hairdos, pretending to be exalted tone gurus. You also won’t be required to send in mp3s of your guitar playing to prove you’re worthy to join the ”Bluetone Cult”.

Bluetone’s dynamic duo are down-to-earth guys, out on an ongoing quest to bring you maximum tone and usability, and no bullsh*t.

For a genuine boutique-grade amp of its calibre, I can only call the Bluetone Fried Eye 2+2 Reverb’s price tag extremely fair.